Listener Online Engagement with BBC Radio Programming

Total Page:16

File Type:pdf, Size:1020Kb

Listener Online Engagement with BBC Radio Programming Listener online engagement with BBC Radio programming Tristan Ferne, BBC Audio & Music Interactive Tim Wall and Andrew Dubber, Birmingham City University Lyn Thomas and Maria Lambrianidou, London Metropolitan University Matt Hills and Amy Luther, Cardiff University Bethany Klein, University of Leeds This collaborative research project was funded through the AHRC/BBC Knowledge Exchange Programme’s pilot funding call. The aim of the Arts and Humanities Research Council/BBC KEP is to develop a long-term strategic partnership bringing together the arts and humanities research community with BBC staff to enable co- funded knowledge exchange and collaborative research and development. The benefits from the outcomes and outputs of these projects should be of equal significance to both partners. To find out more about the AHRC/BBC KEP please visit the AHRC’s website at: http://www.ahrc.ac.uk/FundingOpportunities/Pages/KnowledgeExchangeProgramme.aspx Table of Contents !"#$%"#&''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' ( )"*+#,-+.*/!0*+$#,1+.2.+.$-3!44)!5,&."!6$--,/$!4",#&-!,-!,*!78+$*-."*!"9!,*&!4#$,:! 9#";!5,&."<-!=.-+"#>!"9!?.-+$*$#!@,#+.1.A,+."*'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' B C0*+$#,1+.2.+><!,*&!#,&." ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''B 6$+D"& ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''E F$%!;$&.,G!"H&!D,I.+-!,*&!*$%!1"*1$#*- ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' JK 6$--,/$!I",#&!9$,+L#$-!,*&!.*+$#,1+.2$!$8A$#+.-$'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' JM )";;L*.1,+."*!I#$,:&"%*''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' J( )"*1HL-."*- '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' JN 5$9$#$*1$- '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' JB OAA$*&.8 ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' JP QRS-!"!TQD.-!R#&.*,#>!S#"LAT!"!R99.1.,H!,*&!U*"99.1.,H!?.-+$*$#!O1+.2.+.$-!,#"L*&!V,:$! UA!+"!V"/,*'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''JE 4,1:/#"L*&!,*&!6$+D"& ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' JE O*,H>-.-!"9!+D$!+"/-!-.+$3!6.##"#.*/!VUQV''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' MK 0*+$#2.$%!QD$;$-3!C6.--$&!RAA"#+L*.+.$-<!.*!,!44)!->;I"H.1!L*.2$#-$W'''''''''''''''''''' MX 5$1";;$*&,+."*-3!QD$!44)<-!&.-+.*1+.2$!9"-+$#.*/!"9!"*H.*$!H.-+$*$#!$*/,/$;$*+WMY 5$9$#$*1$- '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' XJ R*H.*$!9,*!1LH+L#$-!,#"L*&!QD$!O#1D$#- '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''XM 0*+#"&L1+."*''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' XM ZL#2$>!,*&!0*+$#2.$%!5$-A"*-$- ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' XM !"#$%&'$("'$#)*+)'$,%)-. //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////00 1)*+)'$2%)-3$4'-5#)-'-$(#$("'$6&#7&%88'///////////////////////////////////////////////////////////////////////////////////////09 4'-5#)-'-$(#$("'$$::;$<&="'&-$!'>-+('/////////////////////////////////////////////////////////////////////////////////////////////0? 4'-5#)-'-$(#$("'$::;$@'--%7'>#%&A-////////////////////////////////////////////////////////////////////////////////////////////////0B O#1D$#-!9,*!1LH+L#$-!"*H.*$ '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' (M C"'$::;$DE+-=F--$C"'$<&="'&-3$@'--%7'>#%&A////////////////////////////////////////////////////////////////////////////////90 C"'$D<&="'&-$<AA+=(-3$:#%&A................................................................................................9B C"'$D@F8-)'(3$<&="'&-$C"&'%A- .........................................................................................9G C"'$2%='>##H$<&="'&-$<55&'=+%(+#)$I&#F5.......................................................................JK ZL;;,#>!,*&!)"*1HL-."*-'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' NX 5$9$#$*1$- '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' NN ZA$1.,H.-+!;L-.1!9,*-!"*H.*$3!.;AH.1,+."*-!9"#!ALIH.1!-$#2.1$!I#",&1,-+.*/''''''NY 0*+#"&L1+."*''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' NY C"'$+85#&(%)='$#,$-5'=+%*+-($8F-+=$(#$("'$::; ///////////////////////////////////////////////////////////////////////////////J? C"'$&'-'%&=" //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////JL C"'$#&7%)+-%(+#)$#,$("'$5%5'& ////////////////////////////////////////////////////////////////////////////////////////////////////////////////JB ZA$1.,H.-+!;L-.1!,*&!ALIH.1!-$#2.1$!I#",&1,-+.*/'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' NE M5'=+%*+-($8F-+=$%-$%)$%*('&)%(+N'O$%)A$%-$%$8%&H'( //////////////////////////////////////////////////////////////////////JG P%QQR$+)A+'$&#=HR$%)A$F&>%)$%-$-5'=+%*+-($8F-+=////////////////////////////////////////////////////////////////////////////////JG M5'=+%*+-($8F-+=$S+("+)$5F>*+=$-'&N+='$>&#%A=%-(+)7 ////////////////////////////////////////////////////////////////////?K C"'$::;3-$(&'%(8')($#,$-5'=+%*+-($8F-+=$KGTL$(#$KG?L ///////////////////////////////////////////////////////////////?T C"'$::;3-$(&'%(8')($#,$-5'=+%*+-($8F-+=$KG?L$(#$TUUL ///////////////////////////////////////////////////////////////?0 U*&$#-+,*&.*/!-A$1.,H.-+!;L-.1!9,*&";!"*H.*$'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' Y( 1)*+)'$')N+&#)8')(-$,#&$-5'=+%*+-($8F-+=$,%)A#8 ////////////////////////////////////////////////////////////////////////?9 M5'=+%*+-(V8F-+=$,%)V=#88F)+(+'-$#)*+)'//////////////////////////////////////////////////////////////////////////////////////////?J 1)*+)'$%=(+N+(+'-////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////?L 44)!-+,99!,*&!-A$1.,H.-+!;L-.1 ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' YE WX+-(+)7$-5'=+%*+-($8F-+=$#F(5F(/ ///////////////////////////////////////////////////////////////////////////////////////////////////////////?G 0;AH.1,+."*-!,*&!#$1";;$*&,+."*- ''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' BX M5'=+%*+-($8F-+=$%-$8'A+%/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////L0 2#&8%($%)A$5*%(,#&8$+)A'5')A')=' ////////////////////////////////////////////////////////////////////////////////////////////////////L9 1&7%)+-%(+#)$#,$5&#AF=(+#)//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////LJ 5$9$#$*1$- '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' BB @#"[$1+!A,#+*$#-''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''PK Foreword Tristan Ferne, Senior Development Producer, BBC FM&T for Audio & Music and Mobile This report has come out of a year-long collaborative project between the BBC and three universities - Birmingham City University, Cardiff University and London Metropolitan University. The project was jointly funded by the BBC and the Arts & Humanities Research Council (AHRC) in an initiative aiming to enable collaborative arts and humanities research between the BBC and universities in the UK. Overall this is a study of the online behaviours and cultures of listeners and fans of BBC radio but it consists of four distinct yet connected case studies; interactivity on the BBC Radio messageboards, the off-bbc.co.uk activity of fans of Terry Wogan, online fan cultures around the Archers and, finally, how the BBC serves specialist music fans and the relationship between online and broadcast media. But first, some background. At the beginning of 2007 the BBC's Innovation Culture team sent out a Call for Proposals for collaborative projects between the BBC and arts and humanities departments. I had just read Henry Jenkin's Convergence Culture (New York University Press, 2006) and had become interested in how fans of TV and radio programmes, but BBC Radio in particular, use the internet to interact around programmes; potentially extending and enhancing their experience of the medium. Lots of interesting fan behaviours occur where
Recommended publications
  • April, May & June 2016 Monthly Performance Pack
    Monthly Performance Pack April, May & June 2016 Mimmi Andersson, BBC iPlayer BBC Communications 07725641207 | [email protected] Monthly summary – June 2016 • Major events in the sporting calendar began in June, including Wimbledon and the UEFA Euro 2016 football tournament. BBC iPlayer saw an excellent start to the ‘Summer of Sport’ season, with 290 million requests across TV and radio. This was an increase of +6% on May, and higher than June 2015 by +39m requests. TV requests increased +9% month-on-month to 229 million, BBC iPlayer’s highest-ever performance for the month of June. • Live viewing grew to 11% of all TV requests, the highest level since mid-2014. And BBC iPlayer (TV and BBC iPlayer Radio) saw the highest ‘unique browser’ reach on record, with an average of 19.9 million unique browsers weekly across June. • The appeal of a ‘Home Nations’ football match, played during office hours. proved a winning combination for BBC iPlayer, with the England v Wales match for UEFA Euro 2016 being, by far, the most requested programme in June, delivering 2.8 million requests. Top Gear continued to be popular as usual, and new dramas Versailles and New Blood rounded out the top 5 most-requested programmes (along with EastEnders), all delivering well over 1m requests. • In a similar story for radio in June, the England v Wales match in UEFA Euro 2016 was also the most popular programme (coverage from BBC Radio 5 live Sport, which delivered 263k requests for BBC iPlayer Radio). • Note: we have included the top 20 episode tables for April and May in this report as well as June’s.
    [Show full text]
  • Managing the BBC's Estate
    Managing the BBC’s estate Report by the Comptroller and Auditor General presented to the BBC Trust Value for Money Committee, 3 December 2014 BRITISH BROADCASTING CORPORATION Managing the BBC’s estate Report by the Comptroller and Auditor General presented to the BBC Trust Value for Money Committee, 3 December 2014 Presented to Parliament by the Secretary of State for Culture, Media & Sport by Command of Her Majesty January 2015 © BBC 2015 The text of this document may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context. The material must be acknowledged as BBC copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. BBC Trust response to the National Audit Office value for money study: Managing the BBC’s estate This year the Executive has developed a BBC Trust response new strategy which has been reviewed by As governing body of the BBC, the Trust is the Trust. In the short term, the Executive responsible for ensuring that the licence fee is focused on delivering the disposal of is spent efficiently and effectively. One of the Media Village in west London and associated ways we do this is by receiving and acting staff moves including plans to relocate staff upon value for money reports from the NAO. to surplus space in Birmingham, Salford, This report, which has focused on the BBC’s Bristol and Caversham. This disposal will management of its estate, has found that the reduce vacant space to just 2.6 per cent and BBC has made good progress in rationalising significantly reduce costs.
    [Show full text]
  • Adult Contemporary Radio at the End of the Twentieth Century
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Jeff Smith Head of Music, BBC Radio 2 and 6 Music Media Masters – August 16, 2018 Listen to the Podcast Online, Visit
    Jeff Smith Head of Music, BBC Radio 2 and 6 Music Media Masters – August 16, 2018 Listen to the podcast online, visit www.mediamasters.fm Welcome to Media Masters, a series of one to one interviews with people at the top of the media game. Today, I’m here in the studios of BBC 6 Music and joined by Jeff Smith, the man who has chosen the tracks that we’ve been listening to on the radio for years. Now head of music for BBC Radio 2 and BBC Radio 6 Music, Jeff spent most of his career in music. Previously he was head of music for Radio 1 in the late 90s, and has since worked at Capital FM and Napster. In his current role, he is tasked with shaping music policy for two of the BBC’s most popular radio stations, as the technology of how we listen to music is transforming. Jeff, thank you for joining me. Pleasure. Jeff, Radio 2 has a phenomenal 15 million listeners. How do you ensure that the music selection appeals to such a vast audience? It’s a challenge, obviously, to keep that appeal across the board with those listeners, but it appears to be working. As you say, we’re attracting 15.4 million listeners every week, and I think it’s because I try to keep a balance of the best of the best new music, with classic tracks from a whole range of eras, way back to the 60s and 70s. So I think it’s that challenge of just making that mix work and making it work in terms of daytime, and not only just keeping a kind of core audience happy, but appealing to a new audience who would find that exciting and fun to listen to.
    [Show full text]
  • 52183 FRMS Cover 142 17/08/2012 09:25 Page 1
    4884 cover_52183 FRMS cover 142 17/08/2012 09:25 Page 1 Autumn 2012 No. 157 £1.75 Bulletin 4884 cover_52183 FRMS cover 142 17/08/2012 09:21 Page 2 NEW RELEASES THE ROMANTIC VIOLIN STEPHEN HOUGH’S CONCERTO – 13 French Album Robert Schumann A master pianist demonstrates his Hyperion’s Romantic Violin Concerto series manifold talents in this delicious continues its examination of the hidden gems selection of French music. Works by of the nineteenth century. Schumann’s late works Poulenc, Fauré, Debussy and Ravel rub for violin and orchestra had a difficult genesis shoulders with lesser-known gems by but are shown as entirely worthy of repertoire their contemporaries. status in these magnificent performances by STEPHEN HOUGH piano Anthony Marwood. ANTHONY MARWOOD violin CDA67890 BBC SCOTTISH SYMPHONY ORCHESTRA CDA67847 DOUGLAS BOYD conductor MUSIC & POETRY FROM THIRTEENTH-CENTURY FRANCE Conductus – 1 LOUIS SPOHR & GEORGE ONSLOW Expressive and beautiful thirteenth-century vocal music which represents the first Piano Sonatas experiments towards polyphony, performed according to the latest research by acknowledged This recording contains all the major works for masters of the repertoire. the piano by two composers who were born within JOHN POTTER tenor months of each other and celebrated in their day CHRISTOPHER O’GORMAN tenor but heard very little now. The music is brought to ROGERS COVEY-CRUMP tenor modern ears by Howard Shelley, whose playing is the paradigm of the Classical-Romantic style. HOWARD SHELLEY piano CDA67947 CDA67949 JOHANNES BRAHMS The Complete Songs – 4 OTTORINO RESPIGHI Graham Johnson is both mastermind and Violin Sonatas pianist in this series of Brahms’s complete A popular orchestral composer is seen in a more songs.
    [Show full text]
  • BBC Chair Role Spec
    Chair, BBC We are looking for an outstanding individual with demonstrable leadership skills and a passion for the media and public broadcasting, to represent the public interest in the BBC and maintain the Corporation's independence. As per the BBC Royal Charter, the Chair of the BBC Board must be appointed by Order in Council following a fair and open competition. The Governance Code, including the public ​ ​ ​ appointment principles, must be followed in making the appointment. The Commissioner for Public Appointments will ensure that the appointment is made in accordance with the Governance Code. Candidates should be aware that the preferred candidate for the post of Chair will be required to appear before a Parliamentary Select Committee prior to appointment. About the BBC ​ The BBC’s mission is defined by Royal Charter: to act in the public interest, serving all ​ ​ ​ audiences through the provision of impartial, high-quality and distinctive output and services which inform, educate and entertain. ​ ​ ​ ​ The BBC is required to do this through delivering five public purposes: 1. To provide impartial news and information to help people understand and engage with the world around them; 2. To support learning for people of all ages; 3. To show the most creative, highest quality and distinctive output and services; 4. To reflect, represent and serve the diverse communities of all of the United Kingdom’s nations and regions and, in doing so, support the creative economy across the United Kingdom; and, 5. To reflect the United Kingdom, its culture and values to the world. The BBC is a public corporation, independent in all matters concerning the fulfilment of its mission and the promotion of the public purposes.
    [Show full text]
  • Media: Industry Overview
    MEDIA: INDUSTRY OVERVIEW 7 This document is published by Practical Law and can be found at: uk.practicallaw.com/w-022-5168 Get more information on Practical Law and request a free trial at: www.practicallaw.com This note provides an overview of the sub-sectors within the UK media industry. RESOURCE INFORMATION by Lisbeth Savill, Clare Hardwick, Rachael Astin and Emma Pianta, Latham & Watkins, LLP RESOURCE ID w-022-5168 CONTENTS RESOURCE TYPE • Scope of this note • Publishing and the press Sector note • Film • Podcasts and digital audiobooks CREATED ON – Production • Advertising 13 November 2019 – Financing and distribution • Recorded music JURISDICTION • Television • Video games United Kingdom – Production • Radio – Linear and catch-up television • Social media – Video on-demand and video-sharing services • Media sector litigation SCOPE OF THIS NOTE This note provides an overview of the sub-sectors within the UK media industry. Although the note is broken down by sub-sector, in practice, many of these areas overlap in the converged media landscape. For more detailed notes on media industry sub-sectors, see: • Sector note, Recorded music industry overview. • Sector note, TV and fi lm industry overview. • Practice note, Video games industry overview. FILM Production Total UK spend on feature fi lms in 2017 was £2 billion (up 17% on 2016) (see British Film Institute (BFI): Statistical Yearbook 2018). Film production activity in the UK is driven by various factors, including infrastructure, facilities, availability of skills and creative talent and the incentive of fi lm tax relief (for further information, see Practice note, Film tax relief). UK-produced fi lms can broadly be sub-divided into independent fi lms, UK studio-backed fi lms and non-UK fi lms made in the UK.
    [Show full text]
  • The BBC's Use of Spectrum
    The BBC’s Efficient and Effective use of Spectrum Review by Deloitte & Touche LLP commissioned by the BBC Trust’s Finance and Strategy Committee BBC’s Trust Response to the Deloitte & Touche LLPValue for Money study It is the responsibility of the BBC Trust,under the As the report acknowledges the BBC’s focus since Royal Charter,to ensure that Value for Money is the launch of Freeview on maximising the reach achieved by the BBC through its spending of the of the service, the robustness of the signal and licence fee. the picture quality has supported the development In order to fulfil this responsibility,the Trust and success of the digital terrestrial television commissions and publishes a series of independent (DTT) platform. Freeview is now established as the Value for Money reviews each year after discussing most popular digital TV platform. its programme with the Comptroller and Auditor This has led to increased demand for capacity General – the head of the National Audit Office as the BBC and other broadcasters develop (NAO).The reviews are undertaken by the NAO aspirations for new services such as high definition or other external agencies. television. Since capacity on the platform is finite, This study,commissioned by the Trust’s Finance the opportunity costs of spectrum use are high. and Strategy Committee on behalf of the Trust and The BBC must now change its focus from building undertaken by Deloitte & Touche LLP (“Deloitte”), the DTT platform to ensuring that it uses its looks at how efficiently and effectively the BBC spectrum capacity as efficiently as possible and uses the spectrum available to it, and provides provides maximum Value for Money to licence insight into the future challenges and opportunities payers.The BBC Executive affirms this position facing the BBC in the use of the spectrum.
    [Show full text]
  • Ebook Download the Archers Miscellany
    THE ARCHERS MISCELLANY PDF, EPUB, EBOOK Joanna Toye | 256 pages | 01 Feb 2010 | Ebury Publishing | 9781846077548 | English | London, United Kingdom The Archers Miscellany PDF Book Friend Reviews. This certainly is a miscellany. Retrieved 26 February Archived from the original on 14 March Given that GE and Apple were unlikely to start sponsoring U. In February , a panel of 46 broadcasting industry experts, of which 42 had a professional connection to the BBC, listed The Archers as the second-greatest radio programme of all time. Stefano added it May 03, When John Archer died no music was played. Music artist and CCM pioneer Erick Nelson defined The Archers' role in the development of contemporary Christian music as representing one- half of a convergence: traditional vocal groups like The Archers got hipper while the hippie rock groups like the Maranatha bands got more mellow —eventually both evinced the polished, commercial sound that would be identified as stereotypical contemporary Christian music. Retrieved 28 June Since Easter Sunday , there have been six episodes a week, from Sunday to Friday, broadcast at around following the news summary. Historians note an exception: China, where archers were so highly skilled and well equipped that they continued to prove useful in battling nomads on the open steppe. The history of the different families and the homes was useful. An elite archer does not grip her bow tightly, fearing what anxious jitters might do; she attaches it to a string that wraps around her hand, extends her arm forward, and holds the bow in place with the skin between her thumb and index finger.
    [Show full text]
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • BBC Learning – Commissioning Meeting
    BBC Learning – Commissioning Meeting May 2012 Welcome and Introduction Saul Nassé – Controller, BBC Learning BBC North • BBC Learning is now located at MediaCityUK, Salford • The move to Salford aims to ensure we better serve and reflect Northern audiences • Other departments based here include: o Sport o Children’s o 5 live o Future Media o BBC Breakfast Welcome and Introduction • Our fourth session to share plans and future thinking • This is the second of two sessions held today: o AM – aimed at education publishers and distributors o PM – commissioning meeting for BBC suppliers • Minutes and recordings of both events will be put online Welcome and Introduction At the last meeting in October 2011 we covered: o Update on Learning activity and content o Information on BBC Learning online activity and plans o Emerging thoughts on the Knowledge and Learning Product o Information on BBC Learning television and Learning Zone plans o Update on finance and public affairs activity Agenda model Timing Agenda Item Speaker 2.30pm Introduction and Welcome Saul Nassé – Controller, BBC Learning Learning and Strategy Update The Knowledge and Learning Product Saul Nassé – Controller, BBC Learning Chris Sizemore – Executive Editor, BBC Learning BBC Learning Online Commissioning Chris Sizemore – Executive Editor, BBC Learning BBC Learning Television Abigail Appleton – Head of Commissioning, BBC Learning BBC Two: The Learning Zone Katy Jones – Executive Producer, BBC Learning Finance and Industry Engagement Alex Lloyd – Head of Operations and Public Affairs,
    [Show full text]
  • Bbc Global Audience Measure
    BBC GLOBAL AUDIENCE MEASURE A quick guide What exactly is the Global Audience Measure (GAM)? The Global Audience Measure is an annual update of how many people are consuming the BBC weekly for ALL international services excluding the BBC’s output aimed at the UK market in ALL countries across ALL platforms (TV, Radio, website and social media). The GAM builds 240 ‘single customer view’ models, one for every country in the world, each year. We do this by combining measurement data for BBC radio, TV, websites and social media: TV and radio data counts people through either surveys that we run in market, or through ratings data (BARB in the UK, or Arbitron in the USA, generally industry currencies in key developed markets). As surveys are extremely expensive to run continuously, we select particular markets to update each year. Digital data (social media and web analytics) is a continuous measurement that we can access whenever we want. However, it does not count people – but rather browsers or impressions. The GAM process converts digital data to represent people. These individual sources are brought together, and converted into individual adult weekly reach. The reach is de-duplicated- that is, people using multiple platforms to access our content (ie TV and radio or tablet and mobile) or multiple services (World Service English radio and World News TV channel) or languages (say, English and Swahili in Kenya) are counted only once. This has the net effect of lowering – and thereby making more accurate- our top level reach figure for each country, and therefore for the global reach figure.
    [Show full text]